Matilda The Musical

a kate west review
book by Dennis Kelly; music & lyrics by Tim Minchin
directed by Matthew Warchus; choreography by Peter Darling
at Orpheum Theatre (SHN)
1192 Market Street, San Francisco 94102
running July 15 - August 15, 2015
contact: (888)746-1799 or www.shnsf.com

Roald Dahl's cheeky heroine Matilda leapt from page to screen (Mara Wilson) to musical. After winning numerous awards in London (seven Oliviers) and New York (five Tonys) the hit show is now on tour in our own San Francisco, currently at the Orpheum Theatre.

Gabrielle Gutierrez (matinee performance) is Matilda, the precociously gifted and neglected daughter of dud parents, the Wormwoods. She reads for pleasure, much to the scandal and chagrin of her tv (telly) addicted mum and dad. Spending as much time at the library as she can, she weaves fantasies that intersect with reality and might even have a few special powers of her own. She needs them too, as she is soon sent to the dark and dreary Crunchem Hall Elementary School, where she faces the terrible headmistress Miss Trunchbull.

Bryce Ryness is Miss Trunchbull and is every bit as horrifying and hysterical as the villain in book and screen. Hair tightly bound in a severe bun, clothes militaristic and demeanor ferocious, Trunchbull makes the children's lives a living hell ("The Hammer" and "The Smell of Rebellion"). Ryness steals the show as he strides into the Trunchbull scenes with timely maneuvers of a pro. Equally fantastic is Quinn Mattfeld as the dishonest car salesman and unappreciative father of Matilda, Mr. Wormwood. The hoots and hollers of their curtain calls alone speak to their distinctive performances.

Bryce Ryness as Miss Trunchball ("Maggots!")

Cassie Silva and Quinn Mattfeld as Mr. and Mrs. Wormwood

Cassie Silva matches Mattfeld in energy as the vainly ditzy Mrs. Wormwood, however it was difficult to understand her higher register at times. In fact, many of the children were almost indecipherable when singing, and sometimes when speaking. The producers understood this potential problem (does it have something to do with the striking British accents or just the usual misinterpretation of song lyrics?) and provided the audience with a display for reading along with the text, à la opera translator, but that may have been a little far to strain to read for the balcony crowd. They did provide a synopsis in the program however, so make sure you read that carefully before the show. Or better yet, read the book! Or for those with a tv (telly) addiction, watch the movie.

Matilda is a delightful show and a wonderful character and will hold younger audiences captive, as well as entertain the grown-ups with that quintessential Roald Dahl quirky wickedness. Jennifer Blood as Miss Honey offers the softer performance, to contrast the evil surrounding our main character, and is ultimately her savior of sorts (though Matilda certainly knows how to take care of herself - girls, take note of that resolute self-reliance).

Rob Howell provides an innovative and imaginative set, while Peter Darling compliments it nicely with joyful choreography and director Matthew Warchus does a fine job painting the big picture. True, there are many harsh moments ("School Song" and "The Chokey Chant"), done with feverous revel, but there are poignant times as well ("Miracle", "This Little Girl" and "When I Grow Up"). So there is something for everyone. And other than the intense concentration needed to follow the plot (can't relax into escapist mode here) it is a super fun show. Read more!

Kinky Boots

a kate west review
book by Harvey Fierstein; music and lyrics by Cyndi Lauper
directed by Jerry Mitchell; orchestrations by Stephen Oremus
at Orpheum Theatre (SHN)
1192 Market Street, San Francisco 94102
running December 2-28, 2014
contact: (888)746-1799 or www.shnsf.com

The musical "Kinky Boots" was based on a 2005 British film, which in turn was based on a true story. Aren't those always the best kind? And just in time for the holidays, this popular Broadway sensation hits the road for a turn in the perfect setting of San Francisco. This most recent version of the plot features Charlie, who inherits his father's shoe factory, which is unfortunately going under. In a desperate attempt to keep it going, Charlie is inspired to cater to a different client, the ultimate in masculine-feminine: drag queens (who give Beach Blanket Babylon divas a run for their money). They present a unique challenge to the shoemaker - creating a sexy high heel that can support the weight of a man. After some convincing in song, Charlie and his factory workers are up to the task, proving that shoes are sometimes even more fun than chocolate. 

Steven Booth is Charlie Price, the insecure factor owner who finds he has his own voice after all. With songs like "Step One" and "Soul of a Man", Booth does a fine job with the transition of boyish man into self-confident man. Kyle Taylor Parker is the fabulous muse, the drag queen star, Lola. His/her best number is "Sex is in the Heel" where he proves the power of red, sex and shoes outshines any childhood angst (and both Charlie and Lola carry a lot of that around). As in the movie of the same name, Lola has to overcome some local prejudice, while facing her own demons, mainly a strict father. Charlie's own father issues are put to rest when he saves the factory and loses his materialistic 

fiancé Nicola (Grace Stockdale). Lauren (Lindsay Nicole Chambers) is delightful as the perky shop assistant who wins his heart in the end. Chambers has a lot of fun moments, such as "The History of Wrong Guys" and is the definitive audience pleaser of the cast, next to Parker as Lola, who easily brings the big into fantastic show stoppers. Speaking of which, a special nod goes to Lola's dancers, her cross-dressing Angels, all rivetingly talented, especially in "In This Corner" (the most fun ever seen in a boxing ring) and "Raise You Up/Just Be". It might seem hard to beat the finale in the movie (a mesmerizing rendition of the "These Boots are Made for Walking", complete with mad stomping) but the San Francisco cast does it justice, with original music and choreography, thanks to the multi-talented director Jerry Mitchell.

A show about shoes can't go wrong.

Let's not forget the trendy creative team, lyricist Cyndi Lauper and Harvey Fierstein (book). One can just imagine the charming work sessions between the effervescent pop star and gravely Broadway icon. Indeed, their collaboration earned them 13 Tony nominations and 6 Tony awards, including Best Musical and Best Score. Drag queens and red shoes - what's not to love? Based on audience reaction from the S.F. crowd alone, no wrong notes here.

So head off to the Orpheum and bring your visiting family. Take a break from the holiday stress and strife and enjoy being different. Teach the out-of-towners a little something about fabulousness.

The Six-Step Program:

1. Pursue the truth.

2. Learn something new.

3. Accept yourself, and you'll accept others.

4. Let love shine.

5. Let pride be your guide.

6. You'll change the world when you change your mind.

Read more!

The Mystery of Edwin Drood

a kate west review
book, music, lyrics by Rupert Holmes
directed by Scott Ellis
musical direction by Paul Gemignani
choreographed by Warren Carlyle
a Roundabout Theatre Company production
at Studio 54, 254 West 54th Street, New York, NY, 10019
running  November 13, 2012 - March 10, 2013
contact (212) 719-1300 or click here

Charles Dickens never finished writing "The Mystery of Edwin Drood". He died instead. So of course the only thing to do was to turn it into a musical and have the audience guess the ending. Right? That was the idea behind Rupert Holmes' vision anyway. Who better for the job than Roundabout Theatre, who sure do like to put on some fun productions (see previous review here). "Drood" (in grand old music hall tradition no less)  is no exception. And what's even more fun? To perform at the most famous former night club in the world, Studio 54. So now you'll want to see the show so you'll be able to say you were there too, just like Andy Warhol. Can't get hipper than that.

Edwin Drood (Stephanie J. Block of "Wicked" fame) is a Victorian gentleman (yep, played by a woman to stir up more mystery) who suddenly disappears. Is he dead? Who killed him? His fiance Rosa (Betsy Wolfe) or his rival John Jasper (Will Chase) or the suspicious eastern foreigners, Helena and Neville Landless (Jessie Mueller and Andy Karl)? The possibilities are endless and there is no shortage of audience participation in figuring it all out, so be forewarned. But don't worry, there is a narrator, the Chairman (Jim Norton), who guides us in the plot and in our reactions, occasionally jumping in and out of characters (as do most of the cast). A cheery Master of Ceremonies, fitting for a raucously bawdy-lite evening.

In this particular production, Chita Rivera was supposed to play Princess Puffer, madame of an underground opium den, but was substituted with Alison Cimmet, who was just fine (her normal role of Violet Balfour went to Jenifer Foote). In fact, the entire ensemble shows us a romping good time and sing some rowdy songs, including "There You Are", "Moonfall", "Ceylon" and "Off to the Races". The first act might drag a bit but the second act involves the spectators even more directly so that will definitely rouse you. The actors are all pros of course, and laughter abounds (unlike the dreary notes of the original novel). Block does a great disgruntled diva.

It's a play-within-a-play, with actors playing actors playing Dickens characters, but mostly talking to us. Some of them will run about the aisles and yes, might drag up an unsuspecting patron of the arts right there on stage. But everyone seems so earnest and of such enthusiastic good cheer that you can't help but be drawn into the fun, especially with all the asides and winks going on. Plus you get to choose the ending. And maybe sing a few notes yourself. A charming production, "Drood" delivers the fun, if not all the answers. But what fun would life be without a little mystery? Read more!

Anything Goes

a kate west review
music and lyrics by Cole Porter
directed and choreographed by Kathleen Marshall
a Roundabout Theatre Company Production
at the Ahmanson Theatre/Center Theatre Group/L.A. Music Center
135 North Grand Ave, Los Angeles 90012
contact 213-628-2772 or Center Theatre Group
running November 27, 2012 - January 6, 2013

In the spirit of retro glam so popular these days, the Roundabout Theatre of New York brings the 1930's Cole Porter musical, "Anything Goes" to Los Angeles, home of Hollywood glitz. A match made in Heaven. Hey, if you're in the mood for fast-talking molls and tap dancing, well, everyone, this is the holiday show for you. And yes, Cole Porter's famously romantic music holds up quite well in setting the mood for this fun little jaunt overseas.

Reno (the impossibly perfect Rachel York) has the hots for Billy (smoothly portrayed by Erich Bergen) who pines for Hope (Alex Finke). Throw in the odd gangster (Fred Applegate as the gruffly fun Moonface Martin) and you have madcap misunderstandings and mistaken identities galore. When they all chase each other onto a luxury ship, appropriate hijinks ensue. Guaranteed.

The set design by Derek McLane puts us all right on top of a smooth sailing ocean, with mini cabin scenes and majestic ballrooms and Martin Pakledinaz gives us lovely old time costuming, all of which will have you yearning for the nostalgic. Then there's the music. Each song is more famous than the last, including the title song "Anything Goes", as well as "I Get a Kick Out of You", "Blow, Gabriel, Blow", "It's De-lovely" and "Friendship". And right again, you will leave the theater humming at least one of the above. Good singing and even greater dancing transports us to just the right amount of escape, thanks to Kathleen Marshall's professional directing. 

Granted, you may not be completely immersed, but even as you are aware you are watching a show, you'll give in to the broad style and occasional silliness, in spite of yourself. Some of you may even remember the grand Broadway Dame Ethel Merman's turn as Reno, immortalizing many of the tunes. This show is certainly a classic. And there is not much to complain about in this impeccable production. Edward Staudenmayer might be a bit much with his way-over-the-top Lord Evelyn Oakleigh, but then again his character is supposed to be ridiculous. The dancing however, is impeccable and as pictured above, awfully fun to watch. And it just flies by. Entertainment for the whole family. Promise.

So be sure to catch the next voyage, if it happens to land at a theater near you. Read more!

The Book of Mormon

a kate west review
book, music, lyrics by Trey Parker, Robert Lopez and Matt Stone
directed by Casey Nicholaw (also choreographer) and Trey Parker
at the Pantages Theatre 6233 Hollywood Blvd, Los Angeles
contact  1-800-982.ARTS (2787) or click here
running through November 25, 2012

The infamous foul-mouthed children of South Park (the insanely animated brainchild of Trey Parker and Matt Stone) once had a run-in with some Mormons on the popular 2003 episode "All About Mormons". The enthusiastic religious fervor was catching at first, but soon became disillusioning as more of the back story was revealed to the characters. And because the show is based on merciless satire, the Mormons were not spared ridicule. In song (some of their best work too). So it's not surprising that several years later, the creators expanded their irreverence by combining their love of mockery with the commercialism of Broadway and thus "The Book of Mormon" was born.

Garnering coveted Tony Awards (including Best Musical 2011), "The Book of Mormon" is a (slightly) tamer version of the television episode. Primarily in order to attract audiences, the stronger sting of direct spoof is often replaced with moments of spotlighted wistful hopefulness (the kind you see in Disney musicals), although all that trademark "bad" language stayed in. In other words, it's an adult family show. And now it's in Los Angeles, right at Hollywood and Vine.

Elders Price and Cunningham (in this performance Gavin Creel and Jon Bass) are paired together by their superiors and sent to Uganda to make sure the Africans properly acknowledge the Savior. As it's not the most coveted destination (it ain't Orlando), the Mormon missionaries despair at making an impact on such a strikingly different culture. Eventually they get through (more or less anyway) to these terribly unenlightened people with song and dance and lots of swearing. Which seems to be the main appeal.

The creators play up the stereotypes, exaggerating that absurdity for effect, but that plays a little better in cartoons. On stage it becomes a more obvious joke, but the audience still eats it up. And the cruder the dialogue, the bigger the laugh. Fans of "South Park" will expect this sophomoric humor (and recognize a voiceover or two) and the rest will be drawn to the shock value. And students of pop culture will have a blast. Setting all that aside, you are left with a fairly standard coming-of-age-self-realization story. Typical Broadway fodder, but nothing life altering (and very similar to the silliness of Spamalot, another mainstreaming musical venture of a once innovative show: see Monty Python.)

The actors are all great, the musical numbers lots of fun and the pacing is briskly efficient. The opening and closing numbers where everyone rings doorbells and sings "Hello" as your friendly neighborhood evangelists are a delight. As pure entertainment, it is a professionally well done piece, but it won't change anyone's beliefs. In fact, the Mormon Church advertises in the program*, apparently giving credence to the "no such thing as bad publicity" mantra. In other words, there are no huge surprises and you pretty much know what to expect. It harkens back to "South Park" itself or the Team America movie (another Parker/Stone creation), where once the novelty wears off, we get it already.

Perhaps even more fitting, you might experience Angelino sensationalism when leaving the theater and run into the LAPD in SWAT-esque gear during a Skateboarder Riot (kid you not). That's when you really know you're in Hollywood.

*"You've seen the play, now read the book."
thebookofmormon.org (told you)
Book of Mormon Read more!

Sideways the Play

a kate west review
a world premiere event
by Rex Pickett
directed by Amelia Mulkey
at Ruskin Group Theatre
3000 Airport Avenue, Santa Monica, CA 90405 
Contact 310-397-3244 or http://ruskingrouptheatre.com/
Running May 18 - July 22, 2012 - EXTENDED!!!


Rex Pickett's life used to be a mess. Being a writer, the only way he could cope with it all was to scrawl all his deep darks onto paper. You can read all it about in his blog here. But for straight novelization, you'll have to turn to his acclaimed book "Sideways", the wine country's game changer and pinot noir champion (sorry, merlot), particularly in the Santa Ynez Valley. If you haven't read it or seen the delightful award-winning Alexander Payne film, (and if even your parents have seen it, why the heck haven't you yet?) it's about two old friends, Miles and Jack, who go on a wine tasting road adventure for one last hurrah before Jack gets hitched (and Miles can try to forget his recent divorce and publishing woes). How much trouble could they possibly get into? Prepared for a more sophisticated palate than the usual "Hangover" crowd might expect, with a good helping of artistic ennui thrown in, "Sideways" leads us down some dark (but profoundly delicious) paths. For even more in vino veritas insight you can jump on the grape bandwagon, so to speak, and take the actual "Sideways" wine tour in an "Eat, Pray, Love" follower kind of way (more on that phenomenon elsewhere in this blog), or you can check out the newly published sequel "Vertical". If you choose the latter, you may notice a marked difference in the writers voice. The first book was wholly from the point of view of Miles, with a marketable blend of humor and grief, while the second book shows more of that real writer anguish behind the iconic character. Both are semi-autographical, but the second reads much more introspectively.


But this is a theater review. The good news is that "Sideways" turned out to be rather conducive for the type of monologuing so often used on stage. And Pickett found just the place to collaborate with at the Ruskin Group Theatre. And in case you weren't aware, this company exists right across from Santa Monica Airport (yes, Santa Monica does have its own airport - who knew?) You get free parking there and if you are seeing the world premiere production of "Sideways", free wine poured from high-end wineries (list below). Sharp Cellars showed a particularly fun little pinot during a Sunday matinee.


Now about the production itself. Amelia Mulkey directs her professionally adept actors with a light hand, choreographing transitions nicely (the scene changes are very fun too). The actors are likeable, especially the quiet romantic interest, Maya (Julia McIlvaine), who seduces Miles with her wine expertise. Crowd favorite Jack is boisterously played by Jonathan Bray and very much a match for Thomas Haden Church in the film version (if we're making comparisons). Cloe Kromwell lends some hot Italian flavor to Terra, the temptress who enables Jack to fully embrace his bad boy. As for our protagonist Miles, John Colella lends a properly pretentious voice to the famous wine connoisseur. So do people really speak that condescendingly in daily conversation? Yes, writers (and wine drinkers) do apparently, and while his character is constantly made fun of for it throughout the piece, you might also feel the urge to strangle him at times. 


Interspersed with one-sided phone calls to the "real world", the Miles and Jack journey grants us some temporary fantasy, which is easy to believe in after a few drinks, but nausea-inducing upon reflection the next morning. Still, the characters are flawed but believable, and earn their redemptions. Road trips are always fun, even without an actual car, and the play captures the spirit of that wanderlust nicely. A competent crew of secondary characters fills in the action well and Set Designer CJ Strawn gives us a cozy all-purpose setting, which the actors use fully. Director Mulkey creates a charming atmosphere, the way sunny alcohol-fueled vacations should be. Oh, included in the price of admission is a boar hunting trip from the novel (not the movie) with live-fake gunshots, just to warn you. Fun scene though. Kerouac worthy, in fact.

If you've read the original novel and seen the movie, you will see that both the film and stage version stick close to the plot and both are true to the heart of the story, each with a slightly different vision and some scene changes, here and there. Payne added his own indie angst to the project for the movie, while on stage Pickett happily unleashes his full writer angst with subtle changes to the dialogue. Some of that "Vertical" self-consciousness slips through in places, as in the line where Maya praises Miles for being brave enough to write what he writes. You can't really blame Pickett for taking some power back from Hollywood (try collaborating with a major studio sometime and see how creatively unfulfilling it can be) but every once in a while you get that little reminder of the voice behind it all. Granted, a thrillingly intellectual voice.


Plus you still get some of the more famous scenes (spit bucket ring any bells?) so every taste bud will be satisfied. Who hasn't felt as lost as Miles at times, helpless to stop the inevitable self-destruction that seems to consume us more and more in this crazy modern world. All we have to hang on to is each other sometimes. Jack's wild side may be a misdirected complement to the introverted Miles, yet while they are initially bad influences on each other, sticking together through the insanity lands them safely (more or less) where they are supposed to be. Eventually. And really, that's all you can ask of a friend.

Here's the book: Sideways: A Novel 


Here's the new book: Vertical (The Deluxe Edition): The Sequel to Sideways 


Here's the wine: http://affairsofthevine.com/sideways-the-play-wines/  


The Oxford Companion to Wine, 3rd Edition

Here's the movie: Sideways (Widescreen Edition)


Classic road tripping: On the Road (Penguin Classics) 

Photo by Agnes Magyari: 

Cloe Kromwell (as Terra), John Colella (as Miles), Jonathan Bray (as Jack), and Julia McIlvaine (as Maya)

Salute!

Read more!

American Idiot

a kate west review
music by Green Day; lyrics by Billie Joe Armstrong
book by Billie Joe Armstrong & Michael Mayer
directed by Michael Mayer
musical arrangement by Tom Kitt
choreographed by Steven Hoggett
at the Ahmanson Theatre/Center Theatre Group 
135 N. Grand Avenue, Los Angeles 90012
running March 13 - April 22, 2012
contact  213-628-2772 or  www.centertheatregroup.org 

The popular Bay Area punk band Green Day won the best rock album (Grammy) in 2005 with their smash hit "American Idiot", released the year before. The structure of this innovative album tells a story of an anti-hero, "Jesus of Suburbia", who just wants to make his mark in the world and find out if there is anything worthwhile beyond television and beer. Michael Mayer (Director of the excitingly youthful "Spring Awakenings") strongly felt this would make a great musical and a rockin' collaboration began. Premiering in Berkeley and then later on Broadway, "American Idiot" combined flashy media with "Rent"-like scaffolding, creating a minimalist stage focused mainly on strong music. And now it's finally made it to Hollywood. Yeah for us.

Johnny (Van Hughes) and his pals Will (Jake Epstein) and Tunny (Scott J. Campbell) want more out of life than what they see around them. So they set out to explore possibilities and each of them ends up with a very different life than expected. Will becomes entrenched in Jingletown suburbia, Tunny joins the military and our protagonist Johnny ends up with sex, drugs and rock and roll. And that's pretty much it. It's a simple story, bare bones really, but the music tells you all you need to know about the quintessential American dream quest. The most well-known songs, "American Idiot", "Jesus of Suburbia" and "21 Guns" express the most dramatically powerful pull of youth and angst. When we are young, we are hell bent on knowing what it all means, sometimes to our detriment. The singers are quite strong for the most part, though it was sometimes hard to hear the women (Leslie McDonel and Gabrielle McClinton) in this production (mike check, anyone?)

Choreographer Steven Hoggett matches the in-your-face lyrics with strikingly angry moves, showing the frustration of being trapped in your own worst self. The production follows in the footsteps of louder, less traditional musicals like "Jesus Christ Superstar" and "Rent" by giving us a rock concert version of underlying sentimental melodies. There are nice ballads too though, don't worry, such as "Boulevard of Broken Dreams" (no explanation necessary) and "Wake Me Up When September Ends" which enhances the diary entries Johnny provides us. "Extraordinary Girl" even includes some acrobatic moves with Scott J. Campbell and Nicci Claspell.

The difference between this and the afore-mentioned Broadway hits is that this show comes from an existing album, so lead singer Billie Joe Armstrong and Director Michael Mayer had to rearrange different orchestrations (with Tom Kitt) to allow a chorus of voices in on the action. And they do that very well. One nice characterization is the imaginary St. Jimmy (Joshua Kobak) who appears as Johnny's alter ego and embodies uniquely delightful punk, which is the heartbeat of this kind of music. In earlier versions, Armstrong himself appeared in this role and that must have been a real treat for the die hards.

Overall, Green Day's music is killer and makes up for the thin story. In other words, you probably won't remember the plot all that much, but those songs sure will stick with you. The hard-to-miss political elements fit right in with our world today too, hopefully allowing us to question how the next generation will  be affected by our decisions of today. Tell your parents the music is loud, but only because of the need to be heard. Oh and that also there is no intermission.

Get the original album here:


American Idiot Read more!

Our Town

a kate west review
directed by David Cromer
by Thornton Wilder
at the Broad Stage, 1310 11th Street, Santa Monica, CA 90401
running January 13 - February 12
contact http://thebroadstage.com/Our-Town or 310-434-3200

You can't get much more small town America than Grover's Corners, New Hampshire. In 1938, Thornton Wilder captured our reverence for nostalgia so very well in his Pulitzer Prize-winning play "Our Town", set in the fictional East coast town, more or less around the first World War. And aspiring acting students have been rehearsing it for ages since. Director David Cromer brings the latest adaptation straight from the Big Apple, with his modern Broadway take on this American classic. It's easy to dismiss the work you were force-fed in school, but read it again as an adult and you might come to appreciate its profound message about life, love, aging and of course, the inevitability of death.

Helen Hunt ("Mad About You", "As Good As It Gets") plays the Stage Manager, usually reserved for a folksy older Mark Twain-ish fellow (think Hal Holbrook). While that role does not necessarily have to be gender specific, it is traditionally depicted as a wise and kindly all-knowing observer. Hunt is matter of fact, which is fine, despite her tendency towards mannerisms, but she does lack some warmth. However, she works well with the rest of the cast and you can't go wrong with excellent dialogue so she does keep our interest.

Grover's Corners is a typical happy little village with typical gossip and neighbors. Emily Webb (played sweetly by Jennifer Grace) marries her next-door-neighbor George Gibbs (the amusing James McMenamin) and generations happen. Scenes of soda fountains and sports at school and the local choir are all played out under a subtle shadow of war. Mothers and Fathers fret and argue, Milkmen and Paper Boys comment on the goings on while Hunt's Stage Manager fills us in behind the scenes. Wilder's general message is that life can be sweet and good, but is too often marred by tragedy and therefore should be all the more precious to most of us. Some of his clever devices include the audience being lectured by various townspeople like Professor Willard (David LM McIntyre) and Editor Webb (Tim Curtis) who regale us with the town facts, while the Stage Manager prompts the audience to answer prepared questions. A complete picture of the town is set up quite nicely in this charming fashion.

The stage itself initially has minimal props, essentially a couple of tables and chairs, and in this production the dress is modern, even though it is set in the early 1900's, the idea being to give us a sense of timelessness. However, seeing a teenager discuss a fifty cent raise with his father can be jarring when he's wearing jeans and sneakers. Director David Cromer does use the space quite well, until one of the last scenes when Emily goes back to visit her family and a true set is revealed, way in the back of the theater, with a fully functioning kitchen. One generally wears rose-colored glasses when looking into the past but it would be nice to be able to fully hear and see properly as well. The most famous monologue of the entire play takes place upstage, far away from the audience and you can barely make it out. The shadows of the past should be a bit more metaphorical in favor of giving us a satisfying ending.

Still, much of the staging works great. The wedding scene is nice and emotional, with poignant turns from Mothers Webb and Gibbs (Ronete Levenson and Lori Myers). Normally portrayed as the height of romantic fulfillment, this wedding shows us the reality of growing older and the fear of leaving youth behind. Hunt comments that one minute you are happily in your twenties and then suddenly you are seventy. It happens so very fast. The final act is done very well (with the exception of the kitchen scene) with stoic actors reflecting on the way the living don't see what's right in front of them and never take the time to fully enjoy and appreciate life while they are in it. Choir Director Simon Stimson (the sharp Jonathan Mastro) especially captures the bitterness of this realization.

All in all, the production will leave you with much to reflect upon. The actors are strong and there is even the occasional dramatic score (courtesy Jonathan Mastro), which adds a nice touch. Thornton Wilder is too often dismissed as a sentimentalist but this play has a lot of hard truths, which are far from sentimental. You will find despair and hope, love and anger and eventual acceptance, like much of life. Cromer is to be commended for a slightly modern take on an overdone piece of theater, but also needs to be careful not to undersell the more important parts of the play.

So do any of us figure out any of this life stuff before it's too late? According to Wilder, "The saints and poets, maybe - they do some." Take heed, folks - slow it down a little. And since we're being all modern - be your own Ferris Bueller.

Get your own copy here:
Our Town

Read more about it:

www.thorntonwilder.com

Read more!

Stuffed and Unstrung - The Tour

by Henson Alternative
a kate west review
on tour now! http://www.stuffedandunstrung.com/ 
check here for local dates: http://www.stuffedandunstrung.com/tickets.php

The Jim Henson Company sprung into being from one of the most endearingly creative minds in entertainment and son Brian Henson beautifully carries on Jim Henson's talented legacy (for several years now) with "Stuffed and Unstrung", an improv show with puppets. Formerly "Puppet Up", this run of unscripted delight continues to impress fans, now embarking on a nationwide tour (check the website to see if it's coming to you). 

Like many improv shows, it is heavy on audience suggestion, so be prepared to shout out fun ideas for scenes. Host Patrick Bristow impeccably moderates and fields the most appealing leads. Just so you know, some of the very brave seated in the orchestra may get “volunteered”. But don’t worry, everyone is there to support and love you – the puppeteers are anyway (you can never be sure about puppets). If you don’t believe it, click the link below for one of the sweetest moments on stage.

This amazingly professional cast can improvise the heck out of any suggestion so part of the fun is watching their wild and crazy characters act out scenarios as if they happen every day. Like Brian himself says, “It can be a little disturbing to see unrequited love between a goat and a fish, but we find it delicious and surprising ….” And audiences cannot agree more. You don’t have to be a fan of  Henson’s beloved “The Muppet Show” or even “Sesame Street” to enjoy the antics, but it is awfully nice to see some vintage pieces incorporated into the show (you may recognize some early Jim Henson). The best part is finally being able to watch what the puppeteers have to do in order to create the magic. As in all live shows, not every night goes 100% smoothly, but that's the secret joy of improv. And the lovely nostalgia factor (along with the talent) is always there. Guaranteed.

In short, there are two shows – one you can watch on the monitors which show the actual puppets acting out a screen on video (like you are used to with Kermit and Miss Piggy) and the other is on stage, where you can watch the dark-clothed puppeteers maneuvering their puppet characters. If you don’t think puppeteering is hard, try holding your arm up for an entire scene and training your brain to move right in order to have a character move left on screen. Fascinating. You’ll also get to see a truly multimedia interactive scene from the patented Henson Digital Puppetry Studio with a robotic version of a puppet (needs to be seen to be understood).

Although Henson has added many new features since 2005 (previous reviews of the gentle silliness here  and here), the essential joy and puppet artistry is definitely still present and stuffed people and animals on sticks make for a remarkably real and touching evening. Squirrels might be foster children, hot dogs may need intervention and James Bond may even appear (anything goes with puppets!) And none of the puppetry magic would even be possible without the supremely fantastic cast (listed below). Rotating different casts for different tour dates works well for them since everyone goes through the same rigorous training process. If you weren’t in awe of this company before (and really, who isn’t?) you will be after they take your town by storm. Once you experience this uniquely delightful show, you’ll want to come back and bring a friend. Or two. Enjoy!

p.s. There is a reason the above is billed as “adult” so if you don’t appreciate strong language, stay home. But come on, you know you really want to see a puppet swear.

Like Father, like son ....

Catch them on YouTube here
(includes the best audience participation scene: http://youtu.be/S7c25whalgQ)


Previous reviews here:

http://www.katewestreviews.com/2009/03/puppet-up.html

http://www.katewestreviews.com/2007/10/puppet-up.html

Brian Henson (Creator, Producer, Performer) is Chairman of The Jim Henson Company and an award-winning director, producer, writer and performer. In recent years, Henson served as Executive Producer on the television projects It’s A Very Merry Muppet Christmas Movie, Muppet Wizard of Oz, Farscape: The Peacekeeper Wars (which he also directed) and Jim Henson’s Jack and the Beanstalk: The Real Story (which he also co-wrote and directed). Previous television projects that Henson produced include Farscape, Bear in the Big Blue House, Gulliver’s Travels, The Wubbulous World of Dr. Seuss, Muppets Tonight and Dinosaurs. Henson’s long list of film credits includes The Great Muppet Caper, Labyrinth,The Witches, Little Shop of Horrors, Teenage Mutant Ninja Turtles, The Muppet Christmas Carol and Muppet Treasure Island.

 Henson also oversees the groundbreaking work at Jim Henson’s Creature Shop, one of Hollywood’s pre-eminent character building, digital and physical visual effects facilities. Henson was part of the team that first created and utilized the Henson Performance Control System, a powerful custom-based interface for puppeteers, which won an Academy of Motion Picture Arts and Science Scientific and Engineering Award in 1992. Recently, he has been leading the Shop’s work with its revolutionary puppeteered animation system. He recently directed Battleground, an episode for TNT’s anthology series Nightmares & Dreamscapes: From the Stories of Stephen King.

Patrick Bristow (Co-Creator/ Director/ Host) is best known for his numerous television appearances most notably as Peter on the groundbreaking ABC series Ellen. Other television credits include, Curb Your Enthusiasm, Seinfeld, Friends, Mad About You, Whose Line Is It Anyway?, and others. Film credits include Twilight Of The Golds, The Longest Yard, as well as the first Austin Powers, So I Married An Ax Murderer, and the accidental comedy Showgirls.  Bristow is also an alum of The Groundlings Main Company where he has performed, taught, and directed. He won a Garland Award for his performance in The Break-Up Notebook and though nominated for an Ovation award for the same role, didn't manage to snag that one. 

Direction credits include Hot Dog TV for the Cartoon Network, IronSink.com 's Freakdom Of Speech, Improvatorium's current hit show, Zombience!  He has served as an improv consultant for The WB, Bravo's Significant Others, Disneyland, Fox TV, and others.

He lives in L.A. with his wonderful partner of 16 years, Andrew Nicastro.
He sincerely hopes you enjoy Stuffed And Unstrung.

Grant Baciocco is the producer and host of the Henson.com Podcast, the official podcast of The Jim Henson Company. He is also the creator of several other award winning, family friendly podcasts including The Radio Adventures of Dr. Floyd, Did This Happen? and Grant's Advent Calendar Video Podcast. His comedy music act, Throwing Toasters, has toured clubs and colleges across the country, played a sold out show at the Tokyo Dome in Japan, had several #1 hits on the Dr. Demento show and opened for "Weird Al" Yankovic. He is also an Associate Producer on Joel Hodgson's Cinematic Titanic. Find out more at www.MrGrant.com. "What I enjoy most is not what the puppets are saying or doing that makes the audience laugh; it’s if the audience knows what the puppets are thinking and they laugh…then I know it’s funny.”

Jennifer Barnhart is a performer with one foot in the human world and one in the puppet world; she enjoys when those worlds intersect, as in her recent appearance in Jim Henson's Emmet Otter up at Goodspeed. She is an original cast member (Outer Critics Circle Award) of the Tony Award-winning Broadway musical Avenue Q. Favorite stage roles includeThe Angel in Angels in America, Olivia in Twelfth Night, and Jack’s Mother in Into the Woods. She has appeared on Law & Order: SVU and As the World Turns; puppeteering credits include Sesame Street, Between the Lions, Lomax: the Hound of Music, Johnny and the Sprites, and Bear in the Big Blue House. 

Bill Barretta began his twenty-year relationship with The Jim Henson Company playing “Earl” on the hit series Dinosaurs.  In addition to creating Muppet characters such as Pepe the King Prawn, Bobo the Bear and Johnny Fiama, he has gratefully taken over Rowlf the Dog, The Swedish Chef and Dr. Teeth, characters originally created by the late great Jim Henson. Performer, writer, producer and consultant credits include Muppets Treasure Island, Muppets Tonight, Muppets From Space, It’s A Very Merry Muppet Christmas, Muppets Wizard of Oz, and Jack and the Beanstalk:  The Real Story (co-writer and “Thunderdell the giant”). 

Julianne Buescher is an actor, writer, Second City alum, and founding member of Stuffed & Unstrung. Stage credits include Velma Kelly in Chicago, Kate in Old Times, and Helen in Baby with the Bathwater. TV/Film credits include The Middle, Criminal Minds, Forgetting Sarah Marshall, 24, Supernatural, The Simpsons, Pirates of the Caribbean, Robot Chicken, Mr & Mrs Smith, Jimmy Kimmel Live, and E! (narrator/host). She also created and starred in the award-winning film Resculpting Venus: a Comedy about Breast Cancer, and created many of the puppets featured in Stuffed and Unstrung. “Nothing says 'Love' like a dog puppet humping your arm."

Tyler Bunch has been working as an actor/puppeteer in the NYC area for eighteen years. In addition to performing such characters as Parris in The Crucible, Bottom in Midsummer Night’s Dream and Pooh Bah in The Mikado, he may also be recognized by youngsters (or the young at heart) for his performances as Pop, Treelo and Doc Hogg (Bear in the Big Blue House), or Grampu, Dr. Nitwhite, Winslow or Baby Cookie Monster (OOBI, Between The Lions, It’s a Big, Big World, Sesame Beginnings). “I am surprised at how amazed the audience is to see how we do what we do. Working with puppets for a long time, I forget that the audience hasn’t had a lot of opportunities to see behind the magic. The fact that we’re throwing that all out there in this show is a really new thing.”

Leslie Carrara-Rudolph is an Emmy-nominated puppeteer and multi-faceted entertainer whose stage credits range from the Beggar Woman in Sweeny Todd to the numerous characters in Lilly Tomlin's Search For Signs Of Intelligent Life In The Universe. TV / film credits include Sesame Street, Johnny and the Sprites, Muppets Tonight, Forgetting Sarah Marshall, The Wubbulous World of Dr. Suess, The Simpsons, and Nickelodeon's Tough Puppy. She created The Wahoo Wagon, a stage show for Disney's El Capitan Theater and will be premiering her new musical “Wake up Your Weird” at the Lesher Center for the Arts in Walnut Creek this September. 

“I find it comforting that in this show a cavewoman can go on a blind date with an alien that her beaver buddy set up with a mutual ferret friend who is married to a punk rock monkey with a fish fetish. I feel like I fit in."

Brian Clark co-produced, co-storied and starred in Sizzle (an improvised Borat-style comedy about global warming).  A member of the Groundlings, he later discovered puppetry, a helpful skill when he was cast in Puppet Up! and as a puppet panelist on  the Game Show Network’s Late Night Liars.   Writing credits include That Gay Ghost, In the Club, Yokies, Baydogs and The Children of Toromiro. Brian co-founded the sketch comedy group The Deviants and though he regularly fails at relationships, he currently employs himself by giving sex advice to women from the male perspective as a contributing writer for Betty Confidential.com. “Performing in Stuffed and Unstrung is like being possessed by multiple demons at the same time. Only these demons are made of felt and when they make you say something bad, technically it's still your fault.”

Stephanie DAbruzzo is a Tony and Drama Desk-nominated performer best known for originating her roles in Broadways Avenue Q (Theatre World Award, Outer Critics Circle Award). NYC stage includes Dont Say Another Word, Plaisir DAmour, Austentatious, Kiss and Makeup, I Love You Because, If You Give a Mouse A Cookie & Other Storybooks, and Gravid Water at Upright Citizens Brigade Theatre. Other cities have seen her in [title of show], The Guys, and Knuffle Bunny: A Cautionary Musical. TV includes Sesame Street (17 seasons), Oobi, The Wonder Pets!, Jacks Big Music Show, Sheep in the Big City, The Wubbulous World of Dr. Seuss, I Love the 70s Part II/80s 3D, and Scrubs. Go U Northwestern.

James Godwin Puppeteer credits include: Book of Pooh, Bear in the Big Blue House, Between the Lions, Oobi, Blue’s Room, Saturday Night Live, Chapelle’s Show, the Spike Lee-directed commercial for iam.com, and  It’s A Big, Big World for PBS where he plays the character BOB. James also co-founded the puppet company The Elementals. The Elementals have performed at P.S. 122, Dance Theater Workshop, HERE, the Walker Art Center, and in the Henson International Festival of Puppetry.

Drew Massey is an actor, puppeteer, and voice-over artist whose film credits include Forgetting Sarah Marshall, The Hangover, Men In Black, Muppets From Space, The Producers, Doctor Dolittle, and Team America: World Police, among others.  Drew has also performed in TV shows such as: Angel, Greg the Bunny, Warren The Ape, Malcolm in the Middle, Muppets Tonight, and Crank Yankers.  He is nice to the elderly, loves animals, and is convinced that dairy products are bad for him.  He also helped create some of the many puppets featured in Stuffed And Unstrung. 

Ted Michaels is an alum of the performing company at the Groundlings Theater in Los Angeles where he was featured in their main stage shows. He also performed with Eddie Izzard in Mr. Izzard's One Word Improv stage show in Los Angeles. Recently, he puppeteered characters for MTV's spinoff of Greg the Bunny, called Warren The Ape. In addition to many commercial appearances, his television credits include roles on The Comeback, Campus Ladies, According to Jim, Girlfriends and Mad TV. “My favorite moments in the show are when we strike on an absurd idea and everyone goes nuts with it- piling on nonsense from every angle until that absurd idea somehow begins to make perfect sense.”

Michael Oosterom is an actor whose stage credits include the American Conservatory Theater, The California Shakespeare Festival, The San Francisco Mime Troupe and the national tour of Steve Martin's Picasso at the Lapin Agile. TV credits include Nickelodeon's The Amanda Show, The District, and Help Me Help You. Recent puppet credits include Where The Wild Things Are, Pushing Daisies, Forgetting Sarah Marshall and Dante's Inferno. He is an alumni of The Groundlings Sunday Company. “I love the warthog puppet. So ugly and yet so beautiful.”

Paul Rugg, a founding member of the ACME Comedy Group in Hollywood and an award winning writer for TV animation, has lent his vocal talent to shows such as Animaniacs, Pinky and The Brain, Histeria, Buzz Lightyear Of Star Command, Dave The Barbarian, Toonsylvania, American Dragon, and Catscratch. Paul also wrote, produced and starred in Freakazoid as well as the Manny The Uncanny segments for ABC’s One Saturday Morning. Recently he also performed Ditch in the animated web series for PBS KIDS GO!, Wilson & Ditch: Digging America.

Colleen Smith is a Groundlings Sunday Company alum and currently teaches improv at the Groundlings school. She is a correspondent on The Showbiz Show with David Spade. Her other television credits include The Office, World Cup Comedy, The Singles Table, Carpoolers, and King of the Hill. She is the co-creator of an original series called Danger Force Five. She is also the co-creator of DateGarden.com, a fictional dating website, and of The Smith Brown Project, a two woman show which ran at The Comedy Central Stage and UCB. 

Allan Trautman began his performing career as an actor, noted for his portrayal of “Tarman” in the cult classics Return of the Living Dead: Parts One and Two. He has gone on to puppeteer in such features as Muppets From Space, Cats & Dogs, Babe, the Men in Black  films, and Dr. Dolittle (for which he was also performance coordinator). His television puppeteering credits include Greg the Bunny, Unhappily Ever After, Muppets Tonight and Dinosaurs, and he was nominated for two Emmys for his work on D.C. Follies. He is currently featured in the web series, Lost Untangled, which can be seen at abc.com. “With television, you only get to see half the fun we have. Now you can see what happens when the cameras stop rolling."

Victor Yerrid is an actor and puppeteer who likes calling people “Hank” regardless of their name. His credits include The Hangover, Forgetting Sarah Marshall, Team America, Men In Black II, Robot Chicken, The Sarah Silverman Program, Warren The Ape, Crank Yankers, Angel, Greg The Bunny, Sid The Science Kid, and Sesame Street. Victor enjoys most berry-based smoothies and adores his wife Janet. “The best part of my night is when somebody comes up to me after the show and says ‘Wow, you were fantastic! How do you come up with all of that ridiculous stuff?’ Then they usually say ‘Wait…you’re not Ted Michaels."

Jen Schriever – Lighting Designer

Recent Designs:  Hairspray (Oasis of the Seas), An Evening Without Monty Python (L.A. & Town Hall), A Streetcar Named Desire, The Winter's Tale (Berlind Theatre), Kaboom (Cherry Lane), The Epic of Sunjata (Loft), Lend me a Tenor, Other People's Money (Engeman), As Far As We Know (Flamboyan). Upcoming Design: Pearl Fishers (ENO), Premiers: Inner Voices Solo Musicals (59E59). Recent Associate Design - Broadway: Fences, A Behanding in Spokane, Joe Turner’s Come and Gone, You’re Welcome America, American Buffalo, 13 - A New Musical, A Catered Affair, Cymbeline, The Vertical Hour, The Color Purple, The Threepenny Opera.  First foray into puppets: Emmet Otter’s Jugband Christmas (Goodspeed).  BFA: Purchase College.

Kerry McDonald – Sound Designer
Kerry has produced live and recorded sound across the globe for the past 8 years. He has made sonorous contributions to listeners’ ears as a record producer at his studio Viva La Fuzz! and as a live sound Audio Engineer for Eddie Izzard, Camera Obscura, Passion Pit, The Vaselines, Isobel Campbell, Frightened Rabbit, Rogue Wave, Matt Nathanson, and Pinback. He has designed, repaired, and teched systems for The Eddie Izzard Stripped tour, The NYC Fringe festival, Memphis band shell, and NASCAR. He currently resides in NYC and is the Audio Production Manager for Bentley Meeker lighting and staging. He is also an advocate of the theory that Mexican food improves ones hearing.

Read more!